Compared to "Breathless," Le Petit Soldat's images suggest a stronger sense of place, as characters seem inextricably linked to their environment. Overall, the film lacks the artifice of Hollywood cinema, which Godard admired but was looking to move past after catching flack from the French left wing.

Simply and devastatingly letting five residents of San Francisco share their
reminiscences of that city's nightmarish "war zone" in the early, horrific
years of AIDS, We Were Here creates a harrowing, streamlined oral history.

To hell with equivocation or beating around the bush: Terrence Malick's 1978 Days of Heaven is the greatest film ever made. And let the word film be emphasized, since Malick's sophomore masterpiece earns this exalted designation from its position as a work of pure cinema. [22 Oct. 2007]

The film's beguiling visual poetry and smatterings of sociological subtext function less than coherently as transitional markers between cinematic epochs, or even as the nascent burblings of any imminent DIY revolution; instead, they're redolent of a modernist apotheosis.

No one corporation or person plans to trample over the wellbeing of the Ghanaian people, but as the story of the development progress, the breadth of Rachel Boynton's research shows how it will occur regardless.